"Working by calculation, engineers employ geometrical forms, satisfying our eyes by their geometry and our understanding by their mathematics; their work is on the direct line of good art." [Le Corbusier 1923] "A polished metal sphere is without any doubt a fantastic phenomenon for our mind, but a flower is an experience. To value geometric forms over things means to make things uniform and to mechanize these things. We do not want to mechanize things but rather their production. To mechanize things means, to mechanize their lives - our lives - which mans to kill them. But to mechanize their production means to gain life. The form of things can be identical with geometric figures, like a crystal for example, but the geometric form found in nature is never the content or origin of the form We do not have to create our individuality, but the individuality of things. Their expression has to be identical with themselves." [Hugo Haring 1925] "...This world goes beyond our conceptualization. By the same token, the mental world once went beyond the experiential capability of mythical man, and yet this world of the mind became reality. Anyone who objects that the aperspectivai world is, in spatial terms, unimaginable, incomprehensible, impalpable, inconclusive, and unthinkable and there will be no end to such objections - falls victim to his own limitations of comprehension and to the visual representation imposed by this world." [Jean Gebser 1949] The dramatic changes in our lives and environment, in the whole nature of work, and in the forms of media, transport and communication mean that architecture and urban design have to search for opportunities to provide the public with possibilities of identification and orientation of their lives. Such a request is an inquiry of creative ideas and conscious concepts. The search for new concepts and the re-evaluation of existing and abandoned ones can only be successful if the process of this search is treated in a creative way. The pluralistic interpretation and integration of space and time, as well as of meaning, phenomenalism and honesty will establish the basis for active change. In a time where contemporary architecture is in desperate need of reconstruction and reconsideration, it is necessary to go back to the early years of modernism to analyze its roots and points of departure. With the end of the grotesque charade of post-modernism and the vi sep aux of deconstructivism, two directions in architecture which share the danger on the conceptual as well as on the built level, the danger of separation of form and function so far that architecture becomes a festival of never ending fashion. The reappearance of a nearly lost architecture based on reason seems to be recognizable and reachable. This architecture is available for a contemporary use after a comprehensive and careful analysis of previous solutions. A combination austerity and purism along with freedom and exuberance characterize this direction. Parts of this movement try to establish a relationship to the work of Hans Scharoun and Hugo Häring, but not with a search for another direction of modernism as in the 60's. The danger of mere borrowing is that the language of these early modern architects could adapted for stylistic reasons only. This strategy, on the one hand, risks to become inflexible through reduction into pure formalism, which is quite the opposite of the initial intentions of the early modernism. Instead, this architecture might be developed as a method which selects important thought process: this way the method could live up to the promises of the initial point of departure. Such extended understanding of space and meaning allows us to recognize the limitations of the orthogonal continuum of space, one of the main meanings of the Modern Movement. The study of expressionist theory and of the work of its pioneers confirms the limitations of restrictions established by the more celebrated tendencies in Modernism. It becomes obvious to us that this formal domination of Modernism is only part of the ideas 2 behind Modernism and only reflects a single part and therefore calls for supplementation and expansion. The relation of an extended belief will again enable architecture to produce a direct and emotional impression."